plate no. 9995

Julie Manet with a straw hat

oil, canvasImpressionismportraitportraitfigurehatbooksindoordress

what to study here

It shows how a close-valued, mid-tone-heavy portrait can hold form and focus through color temperature and varied edges rather than strong contrast.

Study how the value structure is kept narrow and how color does the work. There is no pure white and no pure black. The face and the pale lavender-grey wrap are the lightest masses, the background paintings hold the darkest darks (dark burgundy and brown), and everything else sits in the mid-tones: warm tan hat, muted grey-green walls, fabric shadows. Squint and the picture reads as three groups: dark background art, mid-tone walls and dress, light face. Look at the dress, where broad strokes of warm and cool are laid side by side and left unblended so the eye mixes them. Look at the hair, built from directional, comma-shaped marks that follow the form. The face gets slightly more finish and softer transitions, but the brushwork stays visible. Edges vary: the wrap melts into the background, while the hat brim and face profile are more defined. Notice also that the background pictures stay recessive, so the figure reads forward. Copy the way one stroke holds its value while its color shifts between warm and cool.

key decision

Morisot kept the value range narrow and put the lightest lights on the face and lavender-grey wrap. She laid warm and cool strokes side by side in the dress instead of blending them.

recreation guide

Berthe Morisot’s 'Julie Manet with a straw hat' (1892) is a quintessential Impressionist portrait that prioritizes the optical effects of light and color over linear definition. The work is distinctive for its reliance on simultaneous contrast, where the perception of color is altered by adjacent hues, creating a vibrant, spontaneous surface (Source 2). Morisot’s approach aligns with the Impressionist goal of capturing the 'modifications of the light on the model' rather than static, scientific accuracy (Source 2). The painting likely employs a loose, expressive brushwork that allows for 'great effects' to emerge from the juxtaposition of tones, consistent with the artist’s documented practice of prioritizing visual sensation over detailed rendering (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (pre-mixed tubes)	Primary medium for color application	Professional grade oil paints (e.g., Winsor & Newton, Gamblin)
Linseed oil	Medium to mix with pigments for consistency and drying time	Refined linseed oil
Canvas	Support for the painting	Linen or cotton canvas, primed
Brushes (various types)	Application of paint; fine brushes for detail, broader brushes for masses	Kolinsky sable for fine details, hog bristle for broader strokes
Palette	Mixing colors	Wooden or glass palette
Solvent (Turpentine or Odorless Mineral Spirits)	Thinning paint and cleaning brushes	Odorless mineral spirits

preparation

surface prep

The canvas should be primed with a traditional oil ground, likely white or off-white, to allow for the luminous quality characteristic of Impressionist work. While specific priming methods for this exact canvas are not detailed in the sources, Morisot’s practice involved working on prepared supports that allowed for the layering of transparent and opaque glazes (Source 6).

underdrawing

Morisot likely employed a loose underdrawing, possibly in thin oil or charcoal, to establish the general form and likeness. Sources suggest that for complex compositions or portraits, a rough sketch is made to guide the placement of the figure, especially if the sitter’s time is limited (Source 5). The drawing should not be overly detailed, as the final effect relies on the 'minute visual expression' acquired through practice, allowing the artist to focus on broader emotional and optical qualities during the painting phase (Source 3).

underpainting

An underpainting in thin, diluted oil may have been used to establish tonal values and color relationships. This step helps in harmonizing the colors inherent to the model, such as flesh tones, before applying thicker layers (Source 1). The underpainting should be kept loose to allow for the spontaneous adjustments required by the law of simultaneous contrast (Source 2).

color palette

Flesh tones

Lead white, vermilion, yellow ochre, and touches of blue or green for shadows

General use in this artist's palette; flesh colors are fixed by the model but modified by adjacent colors (Source 1)

Straw hat tones

Yellow ochre, raw sienna, white, and touches of complementary colors for shadows

The hat, which interacts with the background and clothing through simultaneous contrast (Source 2)

Background/Clothing

Varied hues depending on the specific composition, likely including blues, greens, and earth tones

General use in this artist's palette; chosen to harmonize with the inherent colors of the model (Source 1)

composition

The composition likely places the sitter in a relaxed pose, with the straw hat as a focal point. Morisot’s portraits often feature a simple background to emphasize the figure and the play of light on the subject (Source 5). The arrangement of colors is designed to create harmony through simultaneous contrast, where the colors of the clothing and background are chosen to enhance the perception of the flesh tones and the hat (Source 1).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the general form and likeness of Julie Manet on the canvas using thin oil or charcoal. Focus on the major proportions and the placement of the hat.
Tip — Avoid over-detailing; the drawing should serve as a guide, not a final image.
Loose underdrawing

underpainting

step 02
Apply a thin layer of diluted paint to establish the basic tonal values and color relationships. Pay attention to the inherent colors of the flesh and the hat.
Tip — Keep the paint thin to allow for adjustments in subsequent layers.
Tonality establishment

first pass

step 03
Begin applying thicker layers of paint, focusing on the face and hands. Use the law of simultaneous contrast to adjust colors based on their surroundings.
Tip — Observe how adjacent colors affect the perception of each other; adjust hues accordingly.
Simultaneous contrast

refining

step 04
Work on the clothing and background, ensuring that the colors harmonize with the figure. Use broader strokes for less detailed areas.
Tip — Ensure that the background does not compete with the figure but enhances it through contrast.
Color harmony

finishing

step 05
Add final details and adjustments, particularly in the areas of highest contrast. Check the overall balance of light and color.
Tip — Step back frequently to assess the overall effect and make any necessary corrections.
Final adjustments

critical techniques

Simultaneous Contrast

Used to adjust colors based on their interaction with adjacent hues, enhancing the vibrancy and realism of the painting.

Loose Brushwork

Applied to capture the spontaneous effects of light and color, avoiding over-modeling and maintaining the impressionistic style.

Color Harmony

Achieved by selecting colors for the background and clothing that complement the inherent colors of the model, creating a unified composition.

common pitfalls

→Over-detailing the drawing or underpainting, which can lead to a stiff, lifeless final image.
→Ignoring the effects of simultaneous contrast, resulting in flat or inaccurate color relationships.
→Using too much paint in early layers, making it difficult to adjust colors and values later.
→Failing to step back and assess the overall composition, leading to imbalances in light and color.

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific pigments used by Morisot for this painting are not detailed in the sources.
·The exact pose and expression of Julie Manet are not described, so the artist must rely on general knowledge of Morisot’s portraits.
·The specific background elements and their arrangement are not detailed, requiring inference from the artist’s general style.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Understanding simultaneous contrast and color harmony
- 315. As to the advantages the painter will find in it... — applied to Perceiving and imitating modifications of light
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Approach to underdrawing and artistic accuracy
The Practice of Oil Painting↗
- ON COPYING — applied to General advice on painting technique and copying

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Portrait painting↗
- Portrait painting — part 5 — applied to Composition and sketching techniques for portraits
Wikipedia: Oil painting↗
- Oil painting — part 6 — applied to Materials and brush techniques

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A young girl sits facing slightly forward, anchoring the left-center of the composition. Warm frontal light illuminates her pale face and the luminous lavender-grey wrap draped across her shoulders, making these the brightest masses. The straw hat—a wide, golden-tan brim—frames her reddish hair and draws the eye immediately upward. Behind her, the background reads as a shallow interior with soft grey-green walls and framed paintings: a darker, richly colored composition on the left, and a lighter scene with two standing figures in period dress on the right. The eye lands first on her face due to its pale value and centered placement, then travels to the expressive red hair, then along the wrap to the layered background.

value structure

The painting uses a narrow value range—no pure white, no pure black. The lightest lights are the face and the dress wrap (a pale lavender-grey). The darkest darks sit in the background paintings and deepest shadows (very dark burgundy and brown). Most of the work happens in mid-tones: the warm tan hat, the muted walls, the fabric shadows. Squint and you see three clear value groups: dark background art, mid-tone walls and dress, and light face. The subtle complexity lies in the many gradations of warm tan and cool grey-lavender across the dress—each stroke must hold value while shifting color.

observed palette and mixes

#beab98
Titanium white + raw sienna + touch of ultramarine blue
The pale lavender-grey dress and wrap, highlights on the face
#ac967b
Yellow ochre + burnt sienna + white
The upper straw hat, light flesh tones, mid-value dress
#967e65
Raw sienna + ultramarine blue + white
The straw hat shadow, warm mid-tones in the wrap, background walls
#905e41
Burnt sienna + cadmium red light + touch of alizarin
The reddish hair, warm accents in the face, red dress shadows
#675849
Ultramarine blue + burnt sienna + white
Shadow shapes in the dress wrap, dark fabric folds
#462a26
Burnt umber + ultramarine blue
The darkest passages in background paintings, deepest shadow accents

edges and brushwork

Edges range from soft and atmospheric (the dress wrap blends into the background) to gently defined (the hat brim and face profile). Hair is rendered with directional, comma-shaped strokes that follow the form—you see individual marks rather than blended smoothness. The dress showcases the impressionist principle: broad strokes of warm and cool color are laid side-by-side rather than fully blended, allowing the eye to mix them optically. The face receives slightly more finish, with softer transitions, but even here, brushwork is visible and never photographic.

a working sequence

01
Underpainting & composition
Thin, diluted burnt umber: establish the head position, hat brim ellipse, shoulders, and the large shape of the dress wrap. Place the vertical axis of the face and the angle of the hat's tilt. Keep this loose and light—you're mapping proportion and gesture, not rendering.
02
Block the background
Work broadly: soft greys and greens for the walls, darker muted tones (dark burgundy, deep brown) for the paintings behind her. Don't detail them—they stay soft and recessive. This establishes the spatial depth and ensures the figure will read forward.
03
Lay in the hat and dress
Apply the warm tan of the straw hat (raw sienna + ochre + white) and the pale lavender-grey of the dress wrap in large, simple shapes. Don't blend yet. Use enough paint to feel confident—these light values are your landmarks.
04
Establish face values
Block in the face with a warm, light flesh tone (ochre + cadmium red light + white). Identify the shadow side (cooler, towards the ear and jaw) and the light side (warmer, forehead and cheek). Don't model yet—just show where light and shadow live.
05
Build the hair
Rough in the reddish masses with burnt sienna and alizarin. Use directional strokes following the hair's flow; show the darker shadow side (left of face) and lighter strands catching light. Let some of the underpainting show through to add liveliness.
06
Model the face & refine features
With a round or small flat brush, work the facial features: eye placement, nostril, mouth. The complexion is quite pale—restrain the red tones; use warm ochre and cool shadow (ultramarine + burnt sienna) to suggest form. The eyes are small and dark; don't oversharpen them.
07
Develop the hat with layers
Add shadows to the hat brim with a cooler, darker tan (raw sienna + ultramarine blue). Layer warmer highlights (pure yellow ochre + white) on top to suggest the straw's weave and the light catching the brim. Keep it loose—impressionistic texture, not photorealism.
08
Refine the dress fabric
Work over the dress wrap with layered strokes of lavender-grey and warm tan. Show the fold structure with shadow (cooler, blue-grey) next to highlight (warmer, cream). The fabric drapes across her lap and shoulder—follow those folds with your brushstrokes. Don't smooth it; leave the paint texture visible.
09
Final refinement & cohesion
Step back. Check the value structure—make sure the face reads light against the background. Sharpen the hat brim edge where it's most important. Add final warm notes to the hair highlights and cool accents in the dress shadows. Soften or define edges as needed. The background paintings can receive a tiny bit more detail or remain sketchy—they should never compete with the figure.

where studies of this painting go wrong

Overpainting the face with pink or rosy tones—the complexion is cool and pale, with restraint. Warm notes should accent, not dominate.
Muddy the hat by over-blending or mixing it into grey. Keep it warm, luminous, and directional with visible brushstrokes.
Make the dress wrap too monochromatic grey. There's genuine lavender-purple mixed with the grey, especially in shadow areas. Use ultramarine blue intentionally.
Detail the background paintings too much. They should recede—soft edges, less contrast, looser handling than the figure.
Lose the gesture and likeness by getting lost in small features. Zoom out often to check proportions and head position.

measured difficulty